Authenticity and Food Rules August 30, 2012Posted by Dwight Furrow in Dwight Furrow's Posts, Food and Drink, Philosophy of Food.
Tags: authentic food, food aesthetics, food and identity, Italian Cuisine, Sarah Jenkins
Cooking is an art mired in tradition. Each nation has its food rules encrusted with the patina of age and each region within each nation has its way of doing things that seem natural and “right”, and violations are met with moral indignation and contempt.
In Italy, grated cheese is never added to seafood, oil and vinegar is the only proper salad dressing, and coffee is never consumed during a meal. In France, salad is always eaten after the main dish, never before, ketchup is not a condiment for pommes frites. Even in the “anything goes” United States, beans are part of a chili recipe only in certain regions of the country; and do not eat Carolina Barbeque in Texas.
But of what value is authenticity? Does it matter if these rules are followed or broken?
Italian chef Sara Jenkins points out that such “food rules” conceal more than they reveal.
Italian food and flavors changed dramatically after 1492 with the influx of the New World fruits and vegetables — tomatoes, corn, beans, peppers, potatoes — that were gradually integrated over four centuries of gardening and cooking and are at the core of today’s version of Italian food. If we wanted to be really authentic with Italian food, shouldn’t we do away with all the invasive species? Doesn’t that make tomato sauce and polenta inauthentic?
“Food rules” ignore the fact that all food traditions have been influenced by outsiders, all are a hybrid hash of influences thrown together by the movement of populations. Whatever “authenticity” means it cannot mean pure or unadulterated.
Authenticity is not about origins but about the commitments people make and what those commitments reveal about their sensibility. There is a reason why tomato sauces marry nicely with pasta and why a tomato served with olive oil and basil is heavenly. Tomatoes may not be originally Italian, but Italians have done wonderful things with tomatoes. They committed themselves to tomatoes, discovered how they resonate with their local ingredient, and now there is a certain way with tomatoes that is uniquely Italian.
So should we just throw out the food rules? I think not. Food rules must be respected because they set the table for innovation—they define the standards that innovation must meet. Food rules say: “If you want to violate this tradition it better be good.” Without tradition, innovation is just novelty.
However, anyone who is just a slave to tradition and rigidly conforms without entertaining new ideas is violating the very identity of the tradition—its’ ability to be affected. That is, after all, what sensibility is. What makes traditions great—and this is certainly true of Italian food traditions—is their capacity to seamlessly absorb new influences.
Tradition and authenticity are not opposed to innovation–they depend on it. No tradition can remain alive if it does not innovate by accepting and transforming influences from abroad. Jenkins wonders about whether innovations can be authentic:
I have found the combination of soy sauce and extra virgin olive oil to be delicious. Is that a bad thing? It’s certainly inauthentic right now, but will it be considered a standard element in Italian cuisine 50 years from now?
If there is something about Italian cuisine that is enhanced by soy sauce, then soy sauce will become authentically Italian. If I should hazard a guess it will gain entry as an addition to fig puree or the secret ingredient in a meat ragu. Or perhaps if Chef Jenkins is bold she will offer it as a variation on Florentine Steak.
Poetry in Food August 23, 2012Posted by Dwight Furrow in Dwight Furrow's Posts, Food and Drink, Philosophy of Food.
Tags: art and food, Atelier Crenn, food aesthetics
One of the great obstacles to thinking of food as a form of art is that we are accustomed to thinking of food as a collection of flavors and textures that, although pleasurable, lack meaning. Flavors and textures, so it is argued, are not about anything and thus are not representations of an object, place, or person. In this they differ from painting, linguistic arts, and more controversially music, all of which have meaning and which thus qualifies them as art forms.
Chef Crenn, owner of Atelier Crenn, a restaurant in San Francisco, is pushing against this view and understands the depth of meaning that food can have.
Ms. Crenn’s dishes, which she dubs “poetic culinaria,” are all meant to express artistic ideas, in the same way that a line of poetry is meant to communicate more than the sum of its words. A recent 12-course, $160 grand tasting menu was also written as a poem. On the menu, the line “a shallow pool stirs,” for example, accompanied a dish of radish tea with sea urchin and caviar; “as first buds appear” went with a dish of oysters and egg-white foam decorated with tiny flowers.
The rest of the article describes how Crenn used a bird’s nest spotted on a walk as inspiration for a dish called “Birth” which resembled a bird’s nest and which signified the new beginning she must undertake after the foie gras ban in California goes into effect.
One could argue that Crenn’s cooking gets its meaning and thus its artistry from the stunning visual appearance of the food and the title of the dish. Thus, it is poaching on the visual and linguistic dimension for its claim to be art. In other words, the flavors and textures, the elements related to taste, are not doing much artistic work. Having not tasted Crenn’s intriguing culinaria I cannot say what work flavor is doing to enhance the perception of genuine artistry. But there is nothing in the nature of art that entails that art can employ only a single sensory modality. Film for instance employs many sensory modalities. And the dish did include remnants of her foie gras supply, thus clearly flavor and texture contribute to the meaning of the dish.
Many works of art get some of their meaning from language. We would be hard pressed to grasp the meaning of a work such as Debussy’s La Mer (The Sea) if he hadn’t given it that title. Yet surely instrumental music is an art form despite the difficulty in locating its meaning.
The exclusion of food (and wine) from the realm of fine art increasingly seems like a mere prejudice (or a matter of historical practice) thanks to chefs such as Ms. Crenn, whose cooking I look forward to sampling the next time I’m in San Francisco.